Culture Watch

Diogo Morgado plays Jesus in 'Son of God.' Courtesy of Twentieth Century Fox

Son of God is Hollywood’s take on the life and teachings of Jesus of Nazareth. While the producers clearly tried hard to use modern filmmaking techniques to bring scripture to the big screen, the attempt fell flat somewhere between the use of action-sequences, swelling music reminiscent of old Westerns, and unconvincing acting — Jesus is played by Portuguese actor Diogo Morgado, who managed to look irritatingly self-satisfied for most of the movie.

Since faith is such a personal, spiritual experience, it begs the question: Is it possible to make the life and ministry of Jesus into a film that accurately reflects Christianity, or does such an effort cheapen beliefs?

Il Mio Papa, a new weekly magazine that will focus entirely on Pope Francis — complete with a weekly centerfold poster of the pontiff — is scheduled to hit Italian newsstands on Wednesday.

The magazine, whose name translates to “My Pope,” will go heavy on photography and colorful layouts, according to a news release from publisher Mondadori. It’s the first magazine entirely devoted to just one pontiff.

The magazine will include stories about people and events that inspire the pope; background information on papal remarks; a “saints of the week” column; a collection of international cartoons about the pope; and a list of that week’s television programs dedicated to issues related to faith and Christianity.

Tony Kriz and his new book, 'Neighbors and Wise Men.' Courtesy of Tony Kriz

Tony Kriz is, in many ways, the definitive postmodern Christian. He’s a Christian writer, teacher, and he even lives in intentional community with fellow Christ-seekers. He comes from an evangelical background, and, though he claims portions of the theology of his youth, he also continues to reinvent himself as he forges the path of Christ in his cultural context.

Known first in the public eye as “Tony the Beat Poet” from Donald Miller’s bestselling book, Blue Like Jazz, he is a voice and a presence unto himself. He’s more inclined to meet friends over a beer than he is to join a particular congregation in worship every Sunday. He is both deeply embedded in the Christian conversation and cultural identity and, at the same time, a stark contrast to what tradition dictates a “good Christian” should look and act like.

I shot a handful of questions his way after a recent book discussion we conducted at First Christian Church in Portland. Here’s what he had to say.

The first half of “Son of God” features an upbeat and kindly Jesus spreading the good word in familiar, if occasionally over-simplified, biblical phraseology.

Then things get bloody — thought not quite as graphic as in 2004′s “The Passion of the Christ” — when Jesus is seized, beaten, and crucified. The production values are modest and the special effects uneven in this PG-13 repurposed and condensed version of the History Channel’s miniseries The Bible. (That series drew flack for casting an actor who resembled President Obama in the role of Satan. The film sidesteps any hint of controversy by keeping the devil out of this story.)

Son of God, which opens Friday, takes no real chances, opting for a moderately involving re-telling of an oft-told story.

Nearly 60,000 people have signed a Change.org petition demanding that YouTube take down a Katy Perry video they say is blasphemous and offensive to Muslims.

About 75 seconds into the video for the song “Dark Horse,” a Cleopatra-like Perry shoots a laser at a man dressed as a pharaoh but also wearing a pendant that says “Allah” in Arabic. Both the man and the Allah pendant disintegrate.

“Blasphemy is clearly conveyed in the video,” reads the petition, started by 22-year-old Shazad Iqbal of Bradford, England, who suggests Perry sets herself up as an enemy of God by shooting the man with the Allah necklace. “We hope YouTube will remove the video.”

Actor Russell Crowe is using social media to try to cajole Pope Francis into seeing his latest film, the controversial “Noah,” which stars Crowe as the waterlogged biblical patriarch.

The $125 million film, which will go into wide release next month, already has some religious groups upset over a story line they say takes too many liberties in director Darren Aronofsky’s adaptation to the silver screen. Crowe says he’d like Francis to see the film to make up his own mind.

Crowe — who won an Oscar 14 years ago for “Gladiator,” which was set in ancient Rome — tweeted an invitation to the pope, reading in part, “The message of the film is powerful, fascinating, resonant.”

A scene from “Final: The Rapture,” a Christian horror movie. Photo courtesy of Final: The Rapture. Via RNS

The words “Christian” and “horror movie” rarely appear in the same sentence, much less in the same film’s promotional material.

Yet that’s exactly what Tim Chey, writer and director of “Final: The Rapture,” does to promote his picture in its city-by-city rollout.

As the movie’s poster promises: “When the Rapture strikes … all of hell will break loose.”

In an interview outside the Orlando, Fla., multiplex where his film is playing on a Sunday afternoon, Chey said he’s comfortable with the Christian horror movie label, or even “Christian disaster movie.”

Tired of cursing the darkness, my husband Mark and I wanted to shine a light. To do this, we set up a production company called LightWorkers Media. The Bible miniseries, born out of this intention and released last year, grew so popular that we were able to make it into our Jesus film, Son of God.

The Bible series was in its third week when Jesus began to appear on the big screen. There was great excitement that Jesus was coming, with our trailers, various talk shows and even Twitter buzzing with anticipation.

He was beautiful and strong and kind and compassionate. His presence uplifted and encouraged people. It was everything we had hoped for.

"I bet if I were white then I'd be better off … Isn’t that true?” - Idris

A 9-year-old African-American boy lay on the couch, rubbing his head, and told his dad that if he just went to another school, life would be better. If he were just white, life would be better. He clarified, “I’m not saying I want to … but isn’t that right? That’s what everyone else is saying.”

When a 9-year-old boy can see the sad reality of white privilege and understand that the color of your skin is what defines you in our society, we have a serious problem. We can talk about the progress we have made to move civil rights forward over the past 50 years, and many in my generation are grateful for this movement, but we have a long, long way to go.

According to the Black Boys Report, the high school graduation rate for black males is at 52 percent, while white students graduate at a rate of 78 percent. As a nation, we are proud of our success and power, yet our education statistics do not predict the kind of achievement that we expect for the future of our society. In the midst of a major demographics shift, our nation can no longer afford to accept the growing education gap that has become normative in recent years.

American Promise is a documentary following the lives of two African-American boys from kindergarten through high school. The boys attend Dalton, a private school in the upper east side of Manhattan. As Idris and Seun make their way through years of schooling, the film chronicles the truths of our education system and the lack of social and emotional support offered to students of color in America’s schools. The filmmakers, Michèle Stephenson and Joe Brewster, are the parents of Idris. Through their son’s journey, the hardships of being an African-American boy growing up in today’s society are documented, and struggles of parenting are examined through an entirely new lens.

"Did you think I’d forgotten you? Perhaps you hoped I had. Don’t waste a breath mourning ... For those of us climbing to the top of the food chain there can be no mercy. There is but one rule. Hunt or be hunted." - Francis Underwood

So ends the Shakespearean soliloquy at the end of the first episode of House of Card's highly anticipated second season.

Underwood lives by a very clear code of ethics: Get to the top and do whatever is necessary to achieve that goal. For him, the end always justifies the means. And so, although it certainly made me wince to see what happens in Season 2's opening episode, I was left in awe at the show’s brutal honesty of what a life purely committed to power potentially looks like.

Some scenes perhaps strike us viewers as far from reality (Washington can't really be that bad, can it?!?), but other vignettes are far more plausible. Consider Underwood’s commendation of a congresswoman for making the cold, calculated decision to “do what needed to be done” by wiping out entire villages with missile strikes.